Prevenge (2016)

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Children these days are so spoiled, like, Mummy get me the new Playstation, Mummy kill that man. Screenwriter and actress Alice Lowe makes her directing debut in this low-budget horror thriller about a widowed seven-month pregnant woman who takes directions from her highly vocal foetus and goes on a killing spree avenging her late husband whose climbing buddies (male and female) cut the cord to save their lives on an expedition gone wrong. Interspersed with her horribly awkward midwifery appointments there are gory murders, some funny sight gags (getting stuck in a dog flap) and the big joke is about the invisibility of a pregnant woman in the world, even when murdering all before her. Her job interview with yet another guilty party exposes the prejudice towards pregnant workers.  Shot in a sporadically inventive way by Ryan Eddleston (underpass = birth canal, etc.), there are problems in the writing and exposition and in some ways this doesn’t really hit the extremes you might expect despite the violence. The twist ending materialises when the eventual arrival of the totalitarian newborn doesn’t exactly quell the maternal rage. For fans of the genre, there is the bonus of a Seventies-style score by Toydrum.   I’m not grieving I’m gestating! The expectant mother of all slashers.

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Captain Ron (1992)

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Some day Marty will do something worth writing about. Chicago businessman Martin Harvey (Martin Short) is leading a humdrum life with his wife Katherine (Mary Kay Place), trampy teenage daughter Caroline (Meadow Sisto) and little boy Ben (Benjamin Salisbury) until he inherits a yacht formerly owned by Clark Gable from his late uncle, last seen in  the US in 1962. They head off to the island of St Pomme de Terre (Saint Potato) in the West Indies to do it up and sell it through yacht broker Paul Anka (!) and inadvertently hire an eye-patched pirate type – the titular Ron (Kurt Russell) –  to lead them through tranquil aquarmarine waters as they venture through the islands cleaning up what turns out to be a wreck. Marty doesn’t trust Ron one iota but learns to trust in himself as his kids and wife become their truly adventurous selves – Place in particular has a whale of a time. There are no pirates in the Caribbean, says Marty. Then they give guerillas a lift from island to island and have their boat stolen by pirates and take their raft to Cuba -where the yacht is docked… Critics slated this for obvious reasons – why on earth was brilliant comic Short cast in the role of straight man in this twist on the Yuppies in Peril strand so popular in the early 90s? There are compensations, principally in some of the setups and the cinematography. The midlife crisis narrative of course has a twist – that’s in the narration by Marty and in the ending, when Ron doesn’t have a glass eye in his new job:  pirate tales are all in the telling, after all. Colourful and amusing. Written by John Dwyer and directed by Thom Eberhardt.

The Ghost and Mrs Muir (1947)

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Whoever heard of a cowardly ghost. It’s 1900 and widowed Lucy Muir (Gene Tierney) is finally breaking away from the oppression of the awful in-laws, renting a sea cottage with her daughter Anna (Natalie Wood) and maid Martha (Edna Best). That’s despite the estate agent’s advice to take another property because … it’s haunted by its former owner, Captain Daniel Gregg (Rex Harrison), a presumed suicide. When he appears to her on a regular basis he insists it was an accident when he fell asleep in front of the gas fire. They have a frosty relationship but it becomes something more than mutual tolerance and he calls her Lucia because she’s more Amazonian than she believes. He insists on keeping his portrait – in her bedrooom. He is incensed when she cuts down the monkey puzzle he planted himself. He teaches her salty language and by dictating a sensational book – Blood and Swash! – he saves her from penury and a dread return to her late husband’s home. He appears at the most inopportune moments, for a year anyhow. One day at the publisher’s she encounters Uncle Neddy (George Sanders) a most unlikely children’s author. She is romanced, to the grievous jealousy of Daniel. She is the only person who likes the suave one, and the joke’s on her as she finds out one day in London.  The years pass … The paradox at the centre of the story is perfectly encapsulated by Tierney whose very blankness elicited criticism:  for it is the dead seadog who brings her back to life. There’s a very funny scene when he’s seated beside her on the train and the clever writing actually conveys the joke. Philip Dunne adapted the novel The Ghost of Captain Gregg and Mrs Muir by R.A. Dick, a pseudonym for Josephine Leslie. This is utterly beguiling, a sheer delight and an enchantment from another time. Directed rather beautifully by Joseph Mankiewicz.

Father Goose (1964)

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Great blood! A battle of the sexes comedy masquerading as a wartime spy film, this features Cary Grant’s penultimate screen outing as history prof Walter Eckland living as a beach bum and persuaded by his old friend Commander Frank Houghton (Trevor Howard) of the Australian Navy to report for the Allies on Japanese activities around his remote Pacific island following an evacuation in the area. He’s a lousy watch and spends most of his time drinking so he’s ordered to fetch his replacement on a nearby island. Instead he finds stuck-up French teacher Catherine (Leslie Caron) who was washed ashore with seven of her charges, the children of diplomats whose ship was wrecked. In between the sparring the romantic sparks fly and Eckland’s unexpected rapport with the children leads one of them to speak for the first time. And the difficulties between the adults dissolve leading them to contemplate marriage over the radio with a Navy chaplain presiding. Then the Japanese arrive … once, twice and then with feeling. It’s time to get off the island and into a submarine. Peter Stone and Frank Tarloff adapted S. H. Barnett’s short story A Place of Dragons and their screenplay won the Academy Award – definitely not what you’d figure in these PC days when clever light comedy is far from the trophy room. It was Stone’s second script for Grant after Charade and while it doesn’t have the depth or construction or even the raft of smart dialogue (there is some nursery rhyme byplay) of that Hitchcockian thriller, it’s an agreeable way to spend a couple of hours. It looks lovely and Grant and Caron are very good together. But here’s the thing:  Grant turned down My Fair Lady to do this and he wanted his Charade co-star Audrey Hepburn to co-star with him in this but she had already committed to My Fair Lady … Wow! Apparently Grant felt this was the screen role that most resembled him in real life which is pretty incredible when the general belief was that he was the suave smooth talking gent he generally portrayed. He got on so well with the children he kept in touch  with them as they grew up and had their own families – and of course he married after this and had a daughter of his own. Directed by Ralph Nelson.

My Cousin Rachel (2017)

 

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Daphne du Maurier’s novels have never really gone out of fashion, certainly not Rebecca, but this nineteenth century-set variation on gaslighting and Gothic has not been a favourite. Already adapted in 1952 starring Olivia de Havilland and Richard Burton, it gets a run through in a new British version written and directed by Roger Michell. Sam Claflin is Philip the devoted cousin of Ambrose Ashley whose illness drives him to the sun and Italy where he falls for the half-Italian Rachel (Rachel Weisz) and his letters home indicate that she means him ill. When Philip goes to Italy he discovers his cousin is dead, Rachel has vanished and the house is empty with only a man called Rainaldi (Pierfrancesco Favino) to suggest what might have happened. Rachel then materialises at Ambrose’s estate in England where Philip is running the show. He wants to kill her and avenge this monster for his cousin’s supposed murder…. but she is stunningly beautiful and she bewitches first his dogs, then him. His godfather Nick Kendall (Iain Glen) warns him off her and his daughter Louise (Holliday Grainger) who is Philip’s presumed future wife also sees that he is enchanted by her. His own doltish undeveloped sexuality means he is wholly taken in by her – and then means to have her, at whatever cost. She prepares tisanes for him that seem designed to poison him but he rushes into a financial settlement upon his coming of age despite evidence that she is sending vast sums of money abroad: a marriage would seem to be the solution to his carnal needs and her avarice. The combination of two attractive players who nonetheless appear to be in parallel universes doesn’t help this interesting interpretation of toxic relationships and male paranoia that wraps around a mystery that isn’t particularly puzzling:  she is after her late husband’s money. The shock of what Rachel does after a bout of al fresco sex in a bluebell wood is one of the several juxtapositions that reminds one that this is a very modern take on a tale that is old as the hills:  marriages are never equal and relationships based on revenge are never going to end well.

Hotel Reserve (1944)

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Don’t just stand there – do something! The great novelist Eric Ambler was a screenwriter himself but this time round his Epitaph for a Spy was adapted by John Davenport who turns in a very tense thriller despite the obvious limitations of this studio-bound production. It’s the eve of WW2.  James Mason plays Peter Vadassy, an Austrian medical student (he’s half French!) on holiday on the Riviera. He’s arrested for photographs of a naval base near Toulon that appear to have been taken on his camera – but the police know the truth and need to root out a Nazi spy in the hotel without raising suspicions. Vadassy is keen to assert his French nationality and if he doesn’t go along with agent Julien Mitchell’s plans he might be deported to Germany and face goodness knows what. There follows a positively Christie-esque drama as Vadassy attempts to figure out which of the hotel’s suspect residents swapped cameras with him and it’s not hugely surprising when Herbert Lom tops the list. Better still, his villainous other half is played by Lucie Mannheim. If you’re wondering who the Irish-accented lovely is who has a crush on Vadassy it’s Maureen O’Hara’s sister Florrie Fitzsimons in her sole screen appearance under the name Clare Hamilton. Directed by a trio of men – Lance Comfort, Max Greene (Mutz Greenbaum) and Victor Hanbury – who turn in an atmospheric film that raises questions about Britain’s wartime relations with France which still had that government at Vichy when this was released …

When Marnie Was There (2014)

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The final Studio Ghibli production is another adaptation, this time of the eponymous children’s novel by Joan G. Robinson. Transposed from its original Norfolk setting to Sapporo, it’s the story of fostered child Anna (voiced by Hailee Steinfeld) whose asthma attacks prompt her government-paid carers to send her to the seaside where she is drawn to an abandoned mansion across a salt marsh where she becomes faint.  There she sees the blonde-haired Marnie (voiced by Kiernan Shipka) who has blue eyes like her and they form a close bond through their experience of adversity:  Anna’s parents died years ago, Marnie’s ignore her and throw parties, leaving her in the hands of nasty household staff. Marnie wants Anna to keep everything a secret. The mansion seems abandoned still but only comes to life when Anna visits. When Anna meets an artist, Hisako, the woman looks at Anna’s sketches of Marnie and remarks that the likeness resembles a girl she knew when she was young herself … There are revelations of long-buried stories and the teary ending will have you hugging whatever comes in handy as Anna comes to terms with the reality of her real parents’ lives and her origins.  A proper, old-fashioned romance. Adapted by Masashi Ando, Keiko Niwa and Hiromasa Yonebayashi the director, who previously made Arrietty.

The Big Lebowski (1998)

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Nobody fucks with the Jesus. The Dude abides. Where to start with one of the most cherished films there has ever been? Not in the beginning. I may have almost had a coronary from laughing the first time I saw this at a festival screening prior to its release, but a lot of critics just did not get it. It’s the Coen Brothers in excelsis, a broad Chandler adaptation and tribute to Los Angeles,  a hymn to male friendship and the Tao of easy living with some extraordinarily surreal fantasy and dream sequences – not to mention some deadly bowling. Jeff Bridges is Jeffrey ‘Dude’ Lebowski, a guy so laid back he’s horizontal but he gets a little antsy when some thieves mistake him for The Big Lebowski and piss on his rug (it really tied the room together). Best friend Walter Sobchak (John Goodman) is his bowling buddy, an uptight Nam vet with adoptive-Jewish issues in this hilarious offside take on director John Milius. Steve Buscemi is their sweet-natured friend Donny and John Turturro is the unforgettable sports foe, a hispanic gangsta paedo in a hairnet, Jesus Quintana. After the rug issue is handled, Dude is hired by his namesake (David Huddleston) a wheelchair-bound multimillionaire philanthropist, to exchange a ransom when his young trophy wife Bunny (Tara Reid) is kidnapped. Naturally Dude screws it up. There’s a band of nihilists led by Peter Stormare, some porn producers (Bunny makes flesh flicks), Lebowski’s randy artist daughter (Julianne Moore) and a private eye following everyone. And there’s Sam Elliott, narrating this tale of tumbleweed and laziness.  Everyone has their signature song in one of the great movie soundtracks and Dude has not only Creedence but White Russians to really mellow his day. Just like The Big Sleep, the plot really doesn’t matter a fig. This is inspired lunacy and I love it SO much.

Miss Peregrine’s Home for Peculiar Children (2016)

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Jake Portman (Asa Butterfield) gets along far better with his grandfather Abe (Terence Stamp) than with his parents so when the old man dies, with his eyes missing and a strange creature hiding outside his apartment in the bushes, Jake recalls all the stories he told him about living in a magical place during WW2. After several sessions with therapist Dr Golan (Allison Janney) he convinces his reluctant father (Chris O’Dowd) to take him to Wales where he is befriended by some Peculiars, enters a derelict mansion through a portal in a cave and encounters the very much alive Miss Peregrine (Eva Green) who lives in this weird time loop with all the weirdly gifted kids whom his grandfather told him about. They have to ward off a powerful enemy who feast on the children’s eyes, led by Samuel L. Jackson who delivers his now customary cod-threatening performance and after taking Miss Peregrine, the children must engage in a final face-off (or eye-off…) in a theatre in modern-day Blackpool. Jake himself has a special power which can save them all … There’s a level of ordinariness to this which is irritating. It’s well set up, with Tim Burton returning to contemporary Florida (remember the achingly wonderful Edward Scissorhands?) and the problematic father-son dynamic that fuels some of his better work. However there’s no real sense of mystery or fabulism that would bring this to a different realm. What is best about it? Probably the Ray Harryhausen-style doll animations. Emotions lie half-buried in the middle of this – about being the grandson of a Holocaust survivor, hating your dumb parents and only finding your true family because you possess an understanding of life that other people don’t (seeing invisible monsters is inordinately helpful). Oh well – there’s a good joke about the evil motivations of psychiatrists, though. Adapted by Jane Goldman from the novel by Ransom Riggs, and apparently a lot of changes took place in the writing. Very, very uneven.

Julieta (2016)

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The abject maternal has long been a strong component of Spanish auteur Pedro Almodovar’s oeuvre and in this striking adaptation of three Alice Munro stories from Runaway he plunders the deep emotional issues that carry through the generations. On a Madrid street widowed Julieta (Emma Suarez) runs into Beatriz (Michelle Jenner) who used to be her daughter’s best friend. Bea tells her she met Antia in Switzerland where she’s married with three children.  Julieta enters a spiral of despair – she hasn’t seen Antia since she went on a spiritual retreat 12 years earlier and she now abandons lover Lorenzo (Dario Grandinetti) on the eve of their departure for Portugal. She returns to the apartment she lived in with Antia when the girl was an adolescent and hopes to hear from her, the birthday postcards having long ceased. We are transported back to the 1980s when on a snowy train journey to a school in Andalucia Julieta (now played by Adriana Ugarte) resisted the advances of an older man who then committed suicide and she had a one-night stand with Xoan (Daniel Grao). She turns up at his house months later and his housekeeper Marian (the heroically odd Rossy de Palma) tells her his wife has died and he’s spending the night with Ava (Inma Cuesta). Julieta and Xoan resume their sexual relationship and she tells Ava she’s pregnant and is advised to tell Xoan. And so she settles into a seaside lifestyle with him as he fishes and she returns with her young child to visit her parents’ home where her mother is bedridden and her father is carrying on with the help. Years go by and she wants to return to teaching Greek literature, which has its echoes in the storytelling here. The housekeeper hates her and keeps her informed of Xoan’s onoing trysts with Ava;  her daughter is away at camp;  she and Xoan fight and he goes out fishing on a stormy day and doesn’t return alive. This triggers the relationship between Antia and Bea at summer camp which evolves into Lesbianism albeit we only hear about this development latterly, when Bea tells Julieta that once it become an inferno she couldn’t take it any more and Antia departed for the spiritual retreat where she became something of a fanatic.  Julieta’s guilt over the old man’s death, her husband’s suicidal fishing trip and her daughter’s disappearance and estrangement lead her to stop caring for herself – and Lorenzo returns as she allows hope to triumph over miserable experience. There are moments here that recall Old Hollywood and not merely because of the Gothic tributes, the secrets and deceptions and illicit sexual liaisons. The colour coding, with the wonderfully expressive use of red, reminds one that Almodovar continues to be a masterful filmmaker even when not utterly committed to the material;  and if it’s not as passionate as some of his earlier female dramas, it’s held together by an overwhelming depiction of guilt and grief and the sheer unfathomability of relationships, familial and otherwise. Suarez and Ugarte are extremely convincing playing the different phases of Julieta’s experiences – how odd it might have been in its original proposed version, with Meryl Streep in the leading role, at both 25 and 50, and filming in English. I might still prefer his early funny ones but a little Almodovar is better than none at all.